“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .

First Performance: 24 May 1899 at the Théâtre National de
l’Opéra-Comique, Paris.

Principal Characters:

Cendrillon

Soprano

Madame de la Haltière, her stepmother

Mezzo-Soprano or Contralto

Le Prince Charmant

Falcon or Soprano de sentiment

La Fée

Soprano léger

Noémie, stepsister of Cendrillon

Soprano

Dorothée, stepsister of Cendrillon

Mezzo-Soprano

Pandolfe, Cendrillon’s father

Basse chantante or Baryton

Le Roi

Baryton

Le Doyen de la Faculté

Tenor

Le Surintendant des plaisirs

Baryton

Le Premier Ministre

Basse chantante or Baryton

Commentary:

“Cendrillon is the Massenet opera most readily approachable by those with reservations about his idiom. His musical sense of humour, all too seldom given full rein, is here at its frothiest, and liberally spiced with dry Gallic wit. Variety is assured by the four distinct soundworlds conjured up to tell the fairy-tale: the vigour and pomp of the court music, with Massenet’s best dance numbers apart from Le Cid and affectionate pastiche of classical forms from the ages of Lully and Rameau; the music for the fairy world, which has the airiness and harmonic savour of Mendelssohn crossed with Richard Strauss, both in their E major mode; the writing for Cendrillon and Pandolfe, showing Massenet at his most artlessly economical to match the simple virtues they represent; and the love music, which in its heavily perfumed chromaticism reminds one constantly how well Massenet knew his Wagner (as a student he may have played percussion in the Opéra orchestra at the famous Tannhäuser fiasco of 1861, and there are distinct echoes of the Bacchanale in Act 2 of Cendrillon). The mystical marriage of Act 3 is one of the composer’s most succulent love scenes.” Rodney Milnes: 'Cendrillon (ii)', Grove Music Online (Accessed 31 May 2006).

In the hope of attracting the Prince’s attention,
Madame de la Haltière and her daughters dress and leave for the ball.
Pandolfe bitterly regrets his remarriage but nevertheless accompanies
his wife, heartbroken though he is to leave Cinderella to her
miserable lot. The girl unenthusiastically returns to her chores but
soon falls asleep. While Cinderella is sleeping, the Fairy Godmother
uses the opportunity to dress the girl in a magnificent gown, putting
a glass slipper on her foot so that she will not be recognized.
Cinderella promises to return at midnight and leaves for the
ball.

The guests try unsuccessfully to entertain the
melancholy Prince. Ballet. Cinderella’s entrance attracts great
attention. The young Prince and the girl fall in love at first sight,
but soon midnight strikes and Cinderella must leave.

In her haste, Cinderella loses her slipper. Returning
home, Madame de la Haltière expresses her delight at the
Prince’s seeming coolness which caused the unknown girl to flee
from the ball. Cinderella is overcome with emotion. Regaining her
senses, she evokes her dead mother and, weary of life, rushes beneath
the Fairies’ oak to die.

Unable to see each other, the lovers recognize one
another by their voices. They implore the Fairy Godmother to remove
the bush which she had placed between them. The Prince and Cinderella
fall asleep in each other’s arms.